Ceci's first Christmas posada party and pinata have made her Mexican town come alive for generations of readers. "The youngest child will be completely transported by this lovely story".--The Atlantic. Three-color illustrations.

    "Absolutely splendid." -- Kirkuse Reviews. "An extraordinary and powerful book." -- Publisher's Weekly.

    He warmly conveys his own love for his two countries and described the strong and constant desire to be in both places at once: When in one country, he invariably misses the other. His grandfather, he tells us, would understand.

    “Here is a perfect combination of rollicking story and pictures that have strength, life and humor in every line.”--The Horn Book

    Naming nighttime things that are both comforting and intriguing to preschoolers - a key, a bed, the moon - this timeless book illuminates a reassuring order to the universe.

    The Zemachs have interpreted the folk tale which the play dramatized, recognizable as a version of the widespread Rumpelstiltskin story. Its main themes are familiar, but the character and details of this picture book are entirely Cornish, as robust and distinctive as the higgledy-piggledy, cliff-hanging villages that dot England's southwestern coast from Penzance to Land's End.The language spoken by the Christmas players was a rich mixture of local English dialect and Old Cornish (similar to Welsh and Gaelic), and something of this flavor is preserved in Harve Zemach's retelling. Margot Zemach's pen-and-wash illustrations combine a refined sense of comedy with telling observation of character, felicitous drawing with decorative richness, to a degree that surpasses her own past accomplishments.Duffy and the Devil is a 1973 New York Times Book Review Notable Children's Book of the Year and Outstanding Book of the Year, a 1974 National Book Award Finalist for Children's Books, and the winner of the 1974 Caldecott Medal.

    She goes on to explain that even one tree is nice, if it is the only one you happen to have.Some of the reasons why trees are so good to have around are funny. Some are indisputable facts. But in all of them there is a sense of poetic simplicity and beauty which will be sure to entrance any young child. Whether he knows one tree or many, he will relish the descriptions of the delights to be had in, with, or under a tree.Marc Simont's joyous pictures, half of them in full color, accentuate the child-like charm of the words. And each painting of a tree or trees shows just how very nice they can be.

    Joseph's Day. Juan loves las golondrinas, and so does his friend, Julian, the gardener at the mission.This year Juan plants a garden in his own yard. There's nothing he wants more than for the swallows to nest there. And on St. Joseph's Day, his dream comes true.Leo Politi is beloved author and illustrator of Pedro, The Angel of Olvera Street, among many other books for children. Song of the Swallows won the Caldecott Medal in 1950.

    He accepts, with one question: “May I bring a friend?” “Any friend of our friend is welcome here,” says the King. But their guest’s friend turns out to be someone they never expected! Beatrice Schenk de Regniers’s rhythmic text and the fantastical, jewellike artwork of Beni Montresor have made this book a favorite for more than twenty-five years.

    . . . Illustrator Feodor Rojankovsky somehow manages to combine quaintness with sophistication and his doughty frog, the coy mouse . . . and others make charming company.”--The New York Times Book Review

    . . . The droll illustrations, with tones blended to luminescent shading, are complete and humorous themselves.' -- Association of Library Service to Children, ALA.

    But when her tall stories bring disaster to her friend Thomas and her cat Bangs, Sam learns to distinguish between moonshine and reality.Sam, Bangs & Moonshine is the winner of the 1967 Caldecott Medal.

    Zelinsky has once again with unmatched emotional authority, control of space, and narrativecapability brought forth a unique vision for an age-old tale. Few artists at work today can touch the level at which his paintings tell a story and exert their hold.Zelinsky's retelling of Rapunzel reaches back beyond the Grimms to a late-seventeenth-century French tale by Mlle. la Force, who based hers on the Neapolitan tale Petrosinella in a collection popular at the time. The artist understands the story's fundamentals to be about possessiveness, confinement, and separation, rather than about punishment and deprivation. Thus the tower the sorceress gives Rapunzel here is not a desolate, barren structure of denial but one of esoteric beauty on the outside and physical luxury within. And the world the artist creates through the elements in his paintings the palette, control of light, landscape, characters, architecture,interiors, costumes speaks to us not of an ugly witch who cruelly imprisons a beautiful young girl, but of a mother figure who powerfully resists her child's inevitable growth, and of a young woman and man who must struggle in the wilderness for the self-reliance that is the true beginningof their adulthood.As ever, and yet always somehow in newly arresting fashion, Paul O. Zelinsky's work thrillingly shows us the events of the story while guiding us beyond them to the truths that have made it endure.

    Though it was written for one little girl, the prayer is for all boys and girls, and it carries a universal appeal for all ages and races.

    After a ferocious lion spares a cowering mouse that he'd planned to eat, the mouse later comes to his rescue, freeing him from a poacher's trap. With vivid depictions of the landscape of the African Serengeti and expressively-drawn characters, Pinkney makes this a truly special retelling, and his stunning pictures speak volumes.